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Published 17:28 15 Jul 2026 BST
Updated 17:28 15 Jul 2026 BST

The Odyssey, the latest epic from writer-director Christopher Nolan, finally lands in cinemas this week, and having seen it, JOE can confirm it's an absolute must-see.
An adaptation of Homer's ancient Greek epic poem of the same name, the film starts years after the sack of Troy. While fighting for the Greeks in the 10-year-war against Troy, fierce warrior and King of Ithaca, Odysseus (Matt Damon), presented the Trojans with a massive wooden horse, as a peace offering.
This was a lie, however. Odysseus and his men hid within the horse, using it to breach Troy's massive fortifications. Days after the horse was dragged into Troy, the soldiers snuck out and opened the city's gate, leading to its invasion and capture.
10 years after this, however, Odysseus has still not returned to his wife, Penelope (Anne Hathaway), and his son, Telemachus (Tom Holland), in Ithaca. As such, rumours have begun to spread that the king is dead, with dozens of suitors (chief among them, Corey Hawkins and Robert Pattinson) for the Queen gathering in her palace to ask for her hand in marriage.
Under Zeus' Law (also known as Xenia, the Greek concept of hospitality), Penelope and Telemachus are obligated to treat these suitors as guests, even though many are brutish and rude. Fed up with this, Telemachus embarks on a journey to uncover more information about his father's disappearance.
At the same time, the story cuts to Odysseus on an island with a mysterious woman (Charlize Theron). Without his crew and struggling with his memory, the soldier tries to recall his past, feeling deep in his bones that there is somewhere else he needs to be.
The Odyssey begins with the title card: "A time of apparent magic." It then cuts to rapper Travis Scott as a bard, distilling a tale of Odysseus down to its most essential, primal elements. As Ludwig Göransson's earth-shaking score rumbles, the bard declares: "A war. A man. A trick. A trick to break the walls of Troy. And burn it..."
It's one of the most striking movie openings in recent memory, and it really sets the stage for what's to come. That's because Nolan's latest epic infuses the fantastical, wondrous, and horrifying elements of the Greek poem with his trademark sense of authenticity, tactility, and viscerality. In short, this is a film about the man at the heart of the myth.
Fans of Homer's epic can be assured: Yes, there are supernatural elements in The Odyssey, and they are presented via a string of jaw-dropping sequences as Odysseus and other characters recall the past. We get the Cyclops (Bill Irwin), Circe (Samantha Morton), the Sirens, a trip to Hades, and lots more.
This blend of royal court intrigue, war film, fantasy flick, and character study stitches beautifully together, thanks to Nolan's ingenious use of flashbacks and Jennifer Lame's phenomenal editing. This all culminates in a thrilling last act full of dramatic showdowns and cathartic heart-to-hearts that is immensely satisfying (even as, like other Nolan movies, the dialogue seems pitched slightly low in the sound mix).
The cast are terrific. A ripped Matt Damon brings a haunted, sad soul to his fierce warrior. In an absolutely sprawling cast, the clear standouts are Corey Hawkins, Elliot Page, Himesh Patel, John Leguizamo, Robert Pattinson, Samantha Morton, and Tom Holland.
There haven't been many great depictions of Greek myth on screen, so it may sound like damning with faint praise when we say The Odyssey automatically feels like the definitive one.
In that case, we'll also say The Odyssey is everything one should want in a blockbuster. The movie is full of dazzling, stylish spectacle, while its story is told with clear thought, intelligence and heart. See it on the biggest screen possible.
Yet, perhaps because of that title card about "apparent magic", the ultra-believable performances, and the lack of obvious CGI (Nolan is a famous stickler for practical effects), those more fantastical elements feel so real, coming across more like a depiction of long-extinct creatures and ancient powerful rituals that have been lost to time. Nolan's approach seems to have been: treat the myth as if it's fact and then imagine how it could be depicted as authentically as possible.
That said, the writer-director also departs from the source material in several fascinating ways, perhaps most notably with the depiction of the gods themselves. Whereas in the source material, several gods actively drove the plot, the only major god depicted in the movie is Athena (Zendaya), who appears to Odysseus throughout his epic journey home. Yet, there is some ambiguity as to her presence. Is it really her, guiding him on his journey, trying to protect him from Zeus' wrath? Or is she just an imagination of an increasingly battered, world-weary Odysseus, to whom he projects his inner hopes, fears and regrets?
This is what we mean by Nolan finding the man at the heart of the myth. Odysseus has a lot of similarities with the writer-director's previous protagonists, from Bruce Wayne and J. Robert Oppenheimer to Cobb and Coop from Inception and Interstellar. He's a man who willingly left a family behind out of a sense of duty and obligation, who later questions whether he made the right choices as he tries to get home. Only this time, it's more literal, given the source material.
While there's lots of Inception in The Odyssey - Odysseus trapped with Calypso feels like Cobb stuck in limbo - the more Nolan's latest goes on, the more it feels like a companion piece to Oppenheimer. Just like how Cillian Murphy's scientist struggled with the guilt of having introduced nuclear weapons to humanity, Odysseus wonders if his long and dangerous journey home to Ithaca is punishment from the gods. This would be for breaking Zeus' Law by gifting the Trojans with the horse, only to conquer them with it. He also questions whether he has set a bad precedent for future generations. Since he flouted Zeus' Law, to speed up Troy's defeat and return home to Ithaca, can't everyone do the same for their own gain?
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